Sa 27/09, 23.00
Mark Ernestus presents Jeri-Jeri

Fascinated by the complex rhythms of West African Mbalax dance music, Berlin’s techno legend Mark Ernestus (Basic Channel, Maurizio) travelled to Senegal, where he met Bakane Seck, an important protagonist of the scene. What started for Ernestus with YouTube clips and tape cassettes, led to a musical collaboration with Seck, followed by a Griot clan of Sabar drummers and an illustrious crowd of guests including numerous well-known Senegalese musicians. The result is a synthesis of techno and Mbalax: Marimba synthesisers, repetitive drum beats and complex rhythms. And, at the centre, a chanteuse singing in Wolof, Senegal’s most popular language, accompanied by eight musicians.


Sa 04/10, 22.30
Fenster

The musical work of the American-German-French Fenster quartet is characterised by deconstruction. Spartan in their instrumentation, their songs are nevertheless playful, melancholic, melodious and ethereal. Where their first album “Bones” still had plenty of noise and crackle, in their follow-up album “The Pink Caves” the quartet immersed themselves in the psychedelic worlds of the 50s, evoking recollections of David Lynch’s films, actually singing of fireflies, owls and true love. The band’s live concerts oscillate between self-control and explosion, crashing noise and silence – in front of an absurd, minimalist stage set of sunset and palms.


Sa 11/10, 22.30
Selventher

Violin, saxophone, trombone and two drums. The women of Selvhenter have their roots in Copenhagen’s experimental noise underground. Five strong and without any vocals, they rain down a passionate storm of punk, noise, grunge, jazz and drone. For all the aggressive impetus, they never forget their sense of humour, with an affable self-image their exuberant compositions open up a space beyond all mainstream trends, beyond restraint and expectations – that is to say, pretty loud and uncompromising.


Sa 18/10, 22.30
Jacco Gardner

The twenty-four-year-old Dutchman Jacco Gardner has acquainted himself with the sophistications of psychedelic sixties pop sounds, recording an album that unabashedly joins the ranks of his inspirations. He signs, produces and plays all the instruments himself, like an out-of-time child prodigy whose mysterious and carefree songs could easily have featured on the Beatles’ “Revolver” or the Beach Boys’ “Pet Sounds”. On stage, Gardner acts the charming musical director, his baroque pop rendered true to style by a fabulous band with vintage instruments against a backdrop of mind-expanding projections.



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